Influance of Renaissance. Renaissance, in Term Paper

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" Initially, the painters were given the assignment to create sample frescoes which were to be evaluated. On the basis of the evaluation, they were to be employed or not. However, their talent was rapidly acknowledged and they were commissioned to continue the work without any other testing. The individual scenes constitute a whole because they comprise typological references to one another. They present Moses as prefiguring Christ. We must mention, however, that, only after Michelangelo's later work (1508-1512) did the Chapel become famous.

After the Medici's expulsion from Florence, Botticelli felt the influence of a Dominican monk called Girolamo Savonarola. In Savonarola's point-of-view, everything that wasn't useful in the life of humans didn't deserve any attention. Therefore, he destroyed many works of art, in his "bonfire of vanities." Because of this man, Sandro was deeply affected and his interior feelings were also reflected in his work.

As a review, we can mention that Botticelli's early works consist mostly of small and medium format pane paintings depicting the Madonna. The style seems to resemble his teacher's (Filippo Lippi) approach. This period is marked by his first biblical creation entitled "Adoration of the Magi." Botticelli was a very religious person and he proved this fact by his paintings which comprise many religious themes. The many portrays of Madonna stand as a proof. Among them, we can refer to: "Madonna and Child with an Angel" (1465-1467), "Madonna and Child (Madonna della Loggia)" (1467), "Madonna in Glory with Seraphim" (1969-1470), "Madonna of the Rosegarden (Madonna del Roseto)" etc. However, in addition to his religious beliefs, Sandro chose his topics in relation to the demand. Religious paintings and frescoes were highly commissioned at that time.

During 1470, Sandro was recognized
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as a portraitist. As examples of creations, we can mention: the various paintings entitled "Portrait of a Young Man" and the portrait of "Giuliano de' Medici." These present the subjects in a three-quarter view. However, his later portraits do not contain the same backgrounds as before. He reduces them to only one color in order to lay emphasis on the person. This is a sign of his shift from the old ornamental style to a more ascetic one.

The work for the Sistine Chapel brought Botticelli a great fame especially within the high-class families of Florence in 1480. They were commissioning him to create classical themes for the decoration of their homes. The paintings designed for these families were aside from his usual religious style. They tended to comprise mythological and allegorical features because they were the result of the families' fancy. They had no written sources of inspiration, they had no story at their basis, and they were simply the product of imagination. Their initial purpose was to be hung only in the houses of those people.

In order to manage with all the orders, Bottinelli had to cope with some other painters of that time. Therefore, he worked with Bartolomeo di Giovanni for a picture of Boccaccio's Decameron called Nastagio degli Onesti. This job comprised a cycle of four themes. The first two reflected the events in the story, while the other two adapted the place of action (Ravenna) to Florence.

The last period of his life was influenced by the events of that time. His style was tailored in accordance with the political unrest at the end of the century.

Bibliography

Botticelli- Renaissance Master Artist, http://www.myrrhine.net/botticelli/biography.html

Sandro Botticelli, http://www.artchive.com/artchive/B/botticelli.html

Wikipedia Encyclopedia, http://en.wikipedia.org/wiki/Renaissance

Sources Used in Documents:

Bibliography

Botticelli- Renaissance Master Artist, http://www.myrrhine.net/botticelli/biography.html

Sandro Botticelli, http://www.artchive.com/artchive/B/botticelli.html

Wikipedia Encyclopedia, http://en.wikipedia.org/wiki/Renaissance

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